Senior Year 02: California Dreamin'
by Wild Pikachu
Summary: When a popular boy band comes to Kennedy to shoot a music video, Mary Cherry and Carmen vie for a dancing role; world events hit close to home for Sam, which affects both Harrison and Brooke.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

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_"California Dreamin'" was originally supposed to be the sixth or seventh episode, with the boy band music video storyline as the main plot. In the fall of 2001, I realized that I needed to do a 9/11 episode, so this got moved forward and rearranged slightly. The result is a little scattershot, but I think in keeping with the "Popular" tradition of mixing serious issues with over-the-top silliness._

* * *

**Guest Cast:**  
Art Fleischer: Brett Cullen  
Billy: Adrian Grenier

* * *

**Formatting:** The main differences between the way the episodes are presented here and true script format are that on this website, everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are ©1999-2001 Touchstone Television, et al. For what it's worth, original material is ©2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

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**POPULAR: SENIOR YEAR**

**CALIFORNIA DREAMIN'**

TEASER

FADE IN:

INT. MCQUEEN DEN - EVENING

SUPER: September 10th, 2001

Harrison and Brooke are sitting side-by-side on the edge of  
her bed, not looking at each other and very carefully not  
touching each other.

BROOKE  
Harrison—

HARRISON  
Tomorrow. I'll tell her tomorrow.

BROOKE  
What? What are you going to tell  
her?

HARRISON  
(grimacing)  
I'm still kinda working on that  
part. I think—maybe I'll just go  
with the "needing space" thing.  
Girls understand that, right?

BROOKE  
(distantly)  
Oh—yeah. Right.

Harrison starts to lay his hand on hers, but she shies away.

BROOKE (CONT'D)  
Don't...please. you promised—we  
promised—not until you break  
things off with Sam.

HARRISON  
I know, but—I miss you, Brooke.

BROOKE  
(bleakly)  
Please, don't make this harder.  
It's already—

Brooke turns away.

BROOKE (CONT'D)  
Where is she?

HARRISON  
Upstairs.

BROOKE  
You shouldn't be here.

HARRISON  
(exasperated)  
Brooke, we aren't DOING anything.

Brooke runs her hand through her hair.

BROOKE  
(forlornly)  
I know.

CUT TO:

INT. SAM'S BEDROOM

Humming, Sam is on her way out the door when the phone rings.  
Turning on a dime, she heads back across the room and picks it  
up.

SAM  
(into the phone)  
Hello?

PETE (V.O.)  
(over the phone)  
Sammy?

SAM  
Uncle Pete?

PETE (V.O.)  
Hi, Sammy.

SAM  
Where are you? Hang on, I'll get  
Mom.

INTERCUT WITH:

INT. A JETLINER CABIN

Pete McPherson is sitting on the aisle, airphone in hand.

PETE  
Naw, I've only got a couple of  
minutes. We're just about to  
start heading down to JFK.

SAM  
You're in New York? I thought you  
were still in Egypt!

PETE  
Wrapped up there a week ago. I  
was SUPPOSED to be back here last  
Thursday, but I got held up in  
Cyprus, and my flight from Rome  
got canceled, and...well, better  
late than never, I guess. So, you  
up for a visit from your long-lost  
favorite uncle?

SAM  
You're coming here?

PETE  
You got it, kiddo. I need to  
check in at the office tomorrow  
morning, and then I'm officially  
on vacation—and on the first  
flight out to L.A.  
(pause)  
Oh, I got you something.

SAM  
What is it?

PETE  
You'll see.

SAM  
Come on—give me a hint at least!

PETE  
(thinking)  
It's...educational.

SAM  
(rolls her eyes)  
Yeah, right.

A passing flight attendant taps Pete on the shoulder.

PETE  
Oops, I gotta go now.

SAM  
I can't wait to see you—I love  
you.

PETE  
Love you too, kiddo. See you in a  
couple of days.

Hanging up the phone, Sam jogs lightly out of the room.

WHITE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. KENNEDY HIGH - DAY

SUPER: September 21, 2001

The campus might be a bit more subdued, but for the most part  
the kids are getting on with their lives.

CUT TO:

INT. SCHOOL HALLWAY

Carmen is standing by her locker when Mary Cherry comes  
rushing up.

MARY CHERRY  
Carmen! Carmen! I've got it!

CARMEN  
(shaking her head)  
What have you got?

MARY CHERRY  
Why, the answer to our problems,  
of course!

CARMEN  
If this is about the Glamazons—

MARY CHERRY  
Of COURSE it's about the  
Glamazons! What else would it be  
about?

CARMEN  
I don't know, Mary Cherry. I  
mean, maybe Brooke is right. It  
just doesn't seem to important  
anymore.

MARY CHERRY  
Are you kidding? It's very  
important! Look, I can't do  
anything about all that stuff  
that's going on everywhere else,  
but this here is MY turf. As red  
blooded American high-school  
senior girls, it is our patriotic  
duty to see to it that the natural  
social order is restored.  
Like my mama says, carpe the diem,  
and honey, I intend to do some  
carping!

CARMEN  
Okay, even assuming that bringing  
back the Glamazons is...  
patriotic...I still don't see HOW  
we can do it. The Career Day  
thing was a fiasco, and with  
everyone in a funk these days...

MARY CHERRY  
Didn't I say I had the answer to  
that? Come on!

Mary Cherry grabs Carmen by the arm and drags her off.

CUT TO:

INT. GIRLS' RESTROOM - MOMENTS LATER

Mary Cherry comes bursting through the door, still dragging  
Carmen behind her. After looking around to see if anyone else  
is there, she motions for silence. Mary Cherry then  
meticulously stoops down and peers under the door of each  
stall, while Carmen waits and stews. Finally Carmen lets out  
an exasperated snort and throws her hands into the air.

CARMEN  
All right, Mary Cherry, what's  
this all about?

Mary Cherry hurries back across the room.

MARY CHERRY  
(hushed)  
This information is absolutely top  
secret. Nobody else can learn of  
this—especially those Bring It  
people!

CARMEN  
(thoroughly frustrated)  
Learn of WHAT?

MARY CHERRY  
I have it on very good authority  
that the hottest musical act in  
these United States of America is  
coming right here, to this very  
school.

CARMEN  
Britney Spears?

MARY CHERRY  
Bigger.

CARMEN  
N'Sync?

MARY CHERRY  
Bigger!

CARMEN  
(eyes narrowing)  
Wait a minute—you don't mean...

Mary Cherry nods excitedly, and whips out a CD showing five  
twenty-something guys, all chewing gum and blowing pink  
bubbles.

CARMEN (CONT'D)  
(awestruck)  
The Bubblegum Boys!

MARY CHERRY  
According to my source, they're  
coming here to shoot the video to  
their retro-techno-pop remake of  
the Mamas and the Papas classic  
"California Dreamin'"!

CARMEN  
That seems strange, somehow.

MARY CHERRY  
I know! It seems that they had  
this school in New York all picked  
out, but now they don't want to  
fly there! So instead, they're  
going local—namely, right here!

CARMEN  
So...how does this help, exactly?

MARY CHERRY  
(gaping)  
Don't you see? Boy bands—music  
videos—CHEERLEADERS! That's our  
express one-way ticket right back  
to the top of the social heap!

CARMEN  
Huh?

MARY CHERRY  
The Bubblegum Boys' manager is  
coming next week to scope out the  
place. All we have to do is  
convince him that the Glamazons  
should be the ones dancing in the  
video, and—  
(snaps her fingers)  
—we become THE most popular girls  
in the whole school!

CARMEN  
And, how do we do that?

MARY CHERRY  
Well...I'll think of something.

Carmen collapses back onto the tuffet with a groan.

CUT TO:

INT. CHEMISTRY CLASS - LATER

The students are settling in. Lily comes up to Brooke, who is  
sitting by herself.

LILY  
(gently)  
Sam's not here?

Brooke looks up, and shakes her head mutely.

LILY (CONT'D)  
Seen Harrison?

Brooke just shrugs despondently and looks away. Lily decides  
to let the subject die, and moves off.

CUT TO:

INT. SAM'S BEDROOM

The room is dim, curtains shut tight against the sunlight.  
Sam is huddled against the headboard of her bed, knees up  
against her chest, wrapped in a blanket.

A quiet knock on the door breaks the silence.

JANE (O.S.)  
(from the hallway)  
Sam?

After a couple of moments, the door opens, and Jane pokes her  
head in.

JANE (CONT'D)  
Honey? Do you want me to fix you  
some lunch? Some...soup, or  
something?

From Sam comes a barely perceptible shake of the head. Jane  
ventures a couple of steps inside.

JANE (CONT'D)  
I...I know you don't want to talk  
about it...

SAM  
They're giving up... They aren't  
going to find anyone...just...

JANE  
I know how much you loved him. I  
loved him too, you know—he was  
the best brother-in-law anyone  
could ask for.  
(pause)  
Sam...he wouldn't want you to hide  
away like this. He'd want you to  
get out and...and...well...

SAM  
Sure.  
(long pause)  
Just as soon as he tells me to.

JANE  
(stymied)  
I'll bring you up some soup later.

Jane retreats, closing the door behind her; Sam scrunches  
herself into an even tighter space.

A few moments later the door opens again.

HARRISON  
Sam?

Sam doesn't even look up as Harrison steps gingerly over to  
the bed and sits on its edge. Hesitantly he reaches out and  
strokes her hair.

HARRISON (CONT'D)  
Sam, I...

At a loss, he turns away for a moment and regroups.

HARRISON (CONT'D)  
...I'm sorry. I don't know...

Finally Sam looks up at him.

SAM  
Why...? People...they aren't  
supposed to just...die...like  
that... Like when you got  
leukemia, and you got better...  
It's not supposed to... First  
Daddy, and...

Her voice breaking, she reaches out and clutches at him.

SAM (CONT'D)  
Why? Why? WHY?

Harrison gathers her into his arms and holds her tightly as  
she sobs against his chest.

DISSOLVE TO:

INT. MCQUEEN LIVING ROOM - LATER

Jane is aimlessly cleaning when Harrison comes down the  
stairs.

JANE  
(anxiously)  
Did she eat?

HARRISON  
Yeah. Finally. A little. She's  
asleep now. I think.

They sit down across from each other.

JANE  
I just don't know what to do. I  
don't want to make her go back to  
school again.

HARRISON  
Yeah...even when she was there,  
she wasn't... You know what I  
mean.

JANE  
(nodding)  
But I can't let her hide up in her  
room forever, either.  
(smiles)  
I'm really glad you're here for  
her, Harrison.

HARRISON  
Oh...yeah. I mean, I'm glad I can  
help. If I'm helping, I mean.

JANE  
I really don't know what she'd do  
if you weren't here. She depends  
on you so much—especially now.

The front door opens, and Brooke walks in, still leaning  
slightly on her cane. She stops short when she sees Harrison  
sitting there.

BROOKE  
You're here.

HARRISON  
(rising)  
Uh, yeah—

JANE  
Harrison came by when he heard Sam  
had stayed home. He's been with  
her all afternoon.

Brooke looks bleakly at Harrison and, without another word,  
turns and heads for her room. Jane shoots a quizzical look at  
him, and he manages a casual shrug in response.

HARRISON  
I'll talk to her.

As Harrison goes after Brooke, Jane sighs, and returns to her  
cleaning.

CUT TO:

INT. MCQUEEN DOWNSTAIRS HALLWAY - CONTINUOUS

Harrison reaches the door to the den just as it closes; after  
a moment's hesitation he opens it and walks through.

CUT TO:

INT. MCQUEEN DEN - CONTINUOUS

Brooke is sitting on her bed when Harrison walks in and closes  
the door behind him.

BROOKE  
Don't! Just—go away!

HARRISON  
Brooke, what am I supposed to do?  
I can't abandon Sam now—she needs  
me!

BROOKE  
SHE needs you? What about ME?  
I need you! I don't have anyone,  
I can't talk to anyone—

Harrison kneels in front of Brooke and takes hold of her  
shoulders.

HARRISON  
I still love you, Brooke. But...  
we promised we wouldn't hurt Sam.  
I can't end things with her, not  
right now—not with everything  
she's going through.

BROOKE  
I don't care!  
(sniffling)  
I'm sorry. I do care—I don't  
want to hurt her. But—I miss  
you. And I feel like...I'm all  
alone...

HARRISON  
You'll never be alone. I just  
have to help Sam get through this,  
and then we'll be together. I  
promise.

BROOKE  
I just don't know how much longer  
I can keep doing this.

HARRISON  
I know. Just a little while  
longer. Please?

Brooke turns away, but finally nods. Harrison hugs her  
tightly.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EST. KENNEDY HIGH - DAY

Morning at school.

CUT TO:

INT. THE STAIRS

Josh and Lily are coming down the stairs, hand-in-hand.

SUGAR (O.S.)  
Yo! Josh! Lily!

The pair stops and turns around, to see Sugar Daddy coming  
down after them.

JOSH  
Hey, Shug.

SUGAR  
Guys, I really need some advice.

JOSH  
What's going on?

SUGAR  
Man, it's Carmen. I mean, we had  
this thing going.

JOSH  
Yeah, I know. I think it's cool.

SUGAR  
Yeah, well, that's where it is.  
Cool. More like cold. Ice cold.

JOSH  
What, she blew you off?

SUGAR  
Naw, man, it's not like that.  
She...well, she said she needed  
"space".  
(to Lily)  
What is that?

LILY  
(considering)  
It's what girls say when they need  
space.

JOSH  
Lil...

LILY  
I'm serious. Maybe she just needs  
to think it over. You know, it's  
not like Carmen's had a lot of  
luck where boys are concerned.

SUGAR  
Hey, she wanted me to back off, I  
backed off. I just wanna know if  
there's some light at the end of  
this tunnel or not.

LILY  
Look, I'll...talk to her. Maybe I  
can find out, I don't know, what  
she's thinking. But I'm not  
promising anything.

SUGAR  
Thanks, Lily. I owe you. I mean,  
big time.

CUT TO:

INT. SCHOOL HALLWAY

Mary Cherry and Carmen are walking down the corridor.

CARMEN  
...I'm telling you, it's  
impossible!

MARY CHERRY  
But we have to know his schedule  
if we're going to successfully  
intercept him and insinuate  
ourselves into his plans! Like my  
Mama says, intelligence is crucial  
to any hostile takeover, and  
that's what we need!  
Intelligence!

CARMEN  
(rolling her eyes)  
So much for this plan.

MARY CHERRY  
What?

CARMEN  
Nevermind. Look, I thought you  
were the one with all the  
contacts.

MARY CHERRY  
Oh, that's just in the highly  
lucrative field of celebrity  
gossip! I don't know anything  
when it comes to this school.

CARMEN  
(rolling her eyes again)  
Uh-huh.

MARY CHERRY  
What?

CARMEN  
Nothing. Mary Cherry, I can't  
find out this manager person's  
schedule any better than you can.  
You want someone with an inside  
track to Principal Krupps' office,  
like...like Sam, except I don't  
think she's in any shape to help,  
or—

MARY CHERRY  
(snapping her fingers)  
That's IT!

FLIP CUT TO:

INT. ANOTHER SCHOOL HALLWAY - LATER

CLOSE-UP: HARRISON

HARRISON  
You want me to do what?

MARY CHERRY  
It's real simple, Joe. We just  
want you to find out when a  
certain somebody is coming to the  
school, and exactly where he'll be  
when he gets here. You know,  
his—his—

CARMEN  
Itinerary.

MARY CHERRY  
Right!

HARRISON  
And this "certain somebody" would  
be...?

MARY CHERRY  
A certain somebody who can  
guarantee the Glamazons triumphant  
return to its former shining  
radiance.

HARRISON  
(to Carmen)  
You're going along with this?

CARMEN  
(defensively)  
I—I just want to get rid of Bring  
It.

HARRISON  
Hey, I can get behind doing away  
with anything that has Nicole's  
fingerprints on it. But this  
seems...very strange.

MARY CHERRY  
Look, we need this information,  
and we need it without anyone else  
finding out about it. Now, can  
you help us or not?

But before Harrison can reply, a swelling tone resounds  
through the hallway speakers, and they—and all the students  
around them—look up.

KRUPPS (V.O.)  
(over the loudspeaker)  
Attention, everyone, I have an  
announcement to make.  
It is my pleasure to announce that  
the singing group, Bubblegum Boys,  
has chosen our very own Kennedy  
High as the site to film their  
next music video.

There is a general chorus of shrieks from the girls in the  
hall.

CARMEN  
(muttering)  
Well, there goes the big secret.

KRUPPS (V.O.)  
In addition to candid shots of the  
students and teachers going about  
their business, several students  
will be selected to have featured  
roles in the video. There will be  
two principle dancers—female—who  
will be chosen from the student  
body at large. Also, one student  
will be picked to portray the lead  
singer's girlfriend. For this  
part, I am informed that the band  
is looking for an authentic  
California girl; therefore, only  
students born and raised in  
California will be considered.  
Sign-up sheets for auditions are  
now posted outside the auditorium.

The loudspeaker clicks off, and Carmen and Mary Cherry look at  
each other sourly.

MARY CHERRY  
Well, dang, if that don't beat  
all!

CARMEN  
(thinking)  
Wait a minute...did he say...?

MARY CHERRY  
Dancers!

The two girls share a wide-eyed look—and then go running pell-  
mell down the hall, pushing and shoving each other out of the  
way. Harrison watches them go, shakes his head in  
befuddlement, and goes on his own way.

CUT TO:

INT. MCQUEEN LIVING ROOM

Sam is wandering around the room, doing nothing more than  
picking things up, looking them over and setting them back  
down in a disturbingly detached way.

The phone rings.

Sam spins around, horrified at the sound. For four rings she  
just stands there, frozen. Then the answering machine clicks  
on.

MIKE (V.O.)  
(on the machine)  
Hi, you've reached the home of  
Mike and Brooke McQueen, and Jane  
and Sam McPherson. We're all  
otherwise occupied at the moment,  
so please leave a message after  
the beep.

The machine beeps.

FLEISCHER (V.O.)  
(over the machine's speaker)  
This is Art Fleischer, calling for  
Sam. I know it's been a bit  
longer than I said it would be,  
but if you could call me back at—

Spurred into action, Sam reaches for the phone and picks it  
up.

SAM  
(into the phone)  
Mr. Fleischer? It's Sam.

FLEISCHER (V.O.)  
Sam? Ah—I do that, too.

SAM  
I'm...sorry?

FLEISCHER (V.O.)  
Screen my calls.

SAM  
I—

FLEISCHER (V.O.)  
Yes?

SAM  
I—thought you forgot about me.

FLEISCHER (V.O.)  
Well, obviously a lot's happened,  
but no, I didn't forget about you.  
Actually, we've been in a kind of  
"all hands on deck" mode for the  
past couple weeks. We could use  
all the help we can get—including  
yours, if you're willing.

SAM  
I...I guess so.

FLEISCHER (V.O.)  
Good! How about now? Say, my  
office, in an hour?

SAM  
Uh...all right, Mr. Fleischer.

FLEISCHER (V.O.)  
I'll see you then. Oh—and, Sam?

SAM  
Yes?

FLEISCHER (V.O.)  
It's Art.

SAM  
Right.

After she hangs up the phone, Sam shakes herself—literally—  
and heads for the stairs.

CUT TO:

INT. CAFETERIA - NOON

Lily and Josh make an appearance at the entrance to the  
lunchroom.

JOSH  
I just think you're making too big  
a deal about this, that's all.

LILY  
Josh! It's a very big deal! It's  
totally discriminatory that  
they're only considering  
California girls for this part! I  
mean, so they want some  
bubble-headed, over-peroxided,  
Valley surfer girl. What  
difference does it make whether  
she's from L.A. or El Paso?

JOSH  
(puzzled)  
El Paso's not in California?

Lily just looks askance at him.

JOSH (CONT'D)  
Lily, you don't...WANT this part,  
do you?

LILY  
No! But I should still have the  
opportunity to try out, even if I  
don't want to!

JOSH  
But...weren't you born and raised  
here?

LILY  
(exasperated)  
OTHER PEOPLE should have the  
opportunity to try out, even if  
THEY don't want to!

Miss Glass, who seems to have caught the end of this exchange,  
steps up behind them.

GLASS  
If I might make a delicate  
suggestion, Miss Esposito—get a  
life!

Lily turns, outraged.

LILY  
Excuse me? And it's MRS. Ford!

GLASS  
Whatever. The only thing I can  
think of that could be worse than  
this mindless, pop culture, music  
video crap is some mindless, P.C.  
obsessed idiot getting worked up  
enough to make a fuss about it.  
Do everyone a favor—go save a  
whale.

Miss Glass walks off, leaving Lily staring after her open  
mouthed.

JOSH  
Toldya you were making too big a  
deal out of it.

Lily snaps her mouth shut and smacks Josh on the arm.

JOSH (CONT'D)  
Oww!

SWEEP CUT TO:

INT. ANOTHER PART OF THE CAFETERIA

Carmen and Mary Cherry are sitting at one of the tables,  
across from Brooke and George, who seems less than interested  
in the pair's exploits.

MARY CHERRY  
It was perfect! We were gonna  
convince the Bubblegum Boys to let  
the Glamazons dance in their  
video, and then Bring It woulda  
bought it.  
(pouts)  
Then Principal Krupps had to go  
and spoil everything by letting  
everyone in on it.

BROOKE  
I can't believe you guys are still  
on this.

CARMEN  
Hey, restoring the Glamazons is  
our patriotic duty.

Brooke and George look at each other.

BROOKE  
(aside to George)  
Are YOU gonna ask?

GEORGE  
No way. You?

BROOKE  
Not a chance.

Brooke turns back to the girls.

BROOKE (CONT'D)  
Can't you guys just try out for  
the dancing parts?

CARMEN  
We are.

MARY CHERRY  
Yeah, but now we have to compete  
fair and square against those  
Bring It people. And if there's  
anything I hate, it's playing  
fair.

BROOKE  
Now you sound like Nicole.

MARY CHERRY  
(wounded)  
That is truly a low blow, Brooke.

BROOKE  
Sorry.

GEORGE  
Hey, maybe you should try out for  
the girlfriend part, too.

CARMEN  
You think so? I would give  
anything to play B.J.'s girl.

She looks down at herself critically, the dreamy expression  
fading from her face.

CARMEN (CONT'D)  
I'm not sure I'm exactly what  
they're looking for.

GEORGE  
I guess you wouldn't qualify, Mary  
Cherry. Seeing as how you have to  
be from California and all.

MARY CHERRY  
What? I would so!

CARMEN  
(laughing)  
Only if you suddenly developed  
laryngitis.

MARY CHERRY  
(snapping her fingers)  
Laryngitis!

Mary Cherry leaps from her seat and scurries off. Carmen  
looks across at Brooke and George, dismayed.

CARMEN  
I didn't just give her that idea,  
did I?

GEORGE  
(chuckling)  
Afraid so.

CARMEN  
Well, how was I supposed to know?

BROOKE  
Around Mary Cherry?

CARMEN  
All right, you've got a point.

GEORGE  
That's one of the first things I  
learned when I came here—around  
Mary Cherry, anything's possible.

CARMEN  
(to Brooke)  
You know, maybe YOU oughta try  
out. You'd look spectacular on  
B.J. Tucker's arm.

GEORGE  
Yeah, Brooke, you've got that  
classic California look going.

BROOKE  
(grimacing)  
Yeah...B.J.'s gimpy girlfriend. I  
don't think so.

CARMEN  
Maybe you don't have to move  
around. Maybe you just have to  
sit there and look totally in  
love.

BROOKE  
I don't think I know how to do  
that.

GEORGE  
Unfortunately, I do.

What might have been the start of an awkward silence is  
summarily broken by Mary Cherry, who stomps back into the  
scene and plops herself down in a huff.

BROOKE  
(innocently)  
Problem?

MARY CHERRY  
That laryngitis idea won't work—  
it's a SPEAKING part! Plus,  
they're gonna check people's birth  
certificates.

CARMEN  
Well, of course they are.

MARY CHERRY  
I guess I'll just have to fake me  
some birth records.

GEORGE  
You gonna fake an accent while  
you're at it?

MARY CHERRY  
Mister, I will do whatever it  
takes to make sure that a Glamazon  
gets that role.

CARMEN  
I was just saying that Brooke  
should try out.

MARY CHERRY  
(awed)  
Why, Carmen! That's even better  
than laryngitis!

BROOKE  
Oh, please, not you too.

MARY CHERRY  
But, Brooke! You look the part so  
well!

GEORGE  
I already told her that.

BROOKE  
But I can't MOVE the part.

MARY CHERRY  
Details!

Brooke's eyes narrow dangerously.

BROOKE  
My leg having been broken in eight  
places is NOT a detail.

Mary Cherry glances at Carmen, and decides to change tactics.

MARY CHERRY  
(fake-offhandedly)  
Yeah, and even if you did try out,  
that Sam person would probably  
mosey along and steal it right out  
from under you, like she did with  
that contest a while back.

GEORGE  
Sam wouldn't do that. She's got a  
lot going on right now.

BROOKE  
Besides, Sam isn't like that.

GEORGE  
Besides, Sam isn't even eligible.

MARY CHERRY  
Huh?

GEORGE  
Well...you have to be born and  
raised in California, right? That  
leaves Sam out.

MARY CHERRY  
What's that supposed to mean?

George and Brooke exchange another look.

BROOKE  
Sam was born in New York. Her  
parents moved here when she was  
six.

MARY CHERRY  
(chewing that over)  
Huh...I never knew that.

GEORGE  
Well—I better go.

George gets up, but Brooke puts out a hand to stop him.

BROOKE  
George, wait? Walk me to my next  
class?

GEORGE  
Uh, sure.

Brooke gets up in her still-awkward way.

MARY CHERRY  
About the part—

BROOKE  
(severely)  
We will NOT talk about that later.

She and George head off.

MARY CHERRY  
(aside to Carmen)  
She'll come around.

Carmen just shakes her head resignedly.

CUT TO:

INT. SCHOOL HALLWAY - MOMENTS LATER

Brooke and George are moving at about three-quarters speed  
down the hall.

GEORGE  
So, what's going on? Or was I  
just a convenient escape from Mary  
Cherry?

BROOKE  
(hesitantly)  
You haven't checked on Sam.

GEORGE  
Sure I have. I ask you how she's  
doing.

BROOKE  
You know what I mean.

GEORGE  
(sighs)  
She's got Harrison to be there for  
her.

BROOKE  
Yeah, but you could be there for  
her, too.

GEORGE  
Look, I appreciate what you did  
for me and Sam—getting the air  
cleared and all that. I just—I  
can't be that kind of friends with  
Sam. Not now. Not yet.

BROOKE  
She needs you, George. She needs  
you to be whatever kind of friend  
you can.

GEORGE  
But, Harrison—

BROOKE  
She needs more than just Harrison.  
What if—?

George stops and looks at her quizzically.

GEORGE  
What if what?

BROOKE  
What if...Sam and Harrison didn't  
work out?

GEORGE  
If you're asking, could we  
magically go back to the way we  
were before, then the answer is  
no.

BROOKE  
But—

GEORGE  
Brooke, Sam never really loved me.  
She liked me, but she only chose  
me over Harrison because she was  
afraid that a romance between them  
might go sour and ruin their  
friendship.  
(shrugs)  
You can't build love out of  
something like that.

BROOKE  
But if she had a chance—

GEORGE  
(suspiciously)  
Do you know something about Sam  
and Harrison that you're not  
telling me?

Brooke suddenly realizes what she's been saying, and hastily  
backtracks.

BROOKE  
(emphatically)  
No! Absolutely not! Me? I—no.

GEORGE  
Do you even tell Sam that I ask  
about her?

BROOKE  
Sam and I—don't talk much. We  
don't fight, or anything, we  
just...don't talk much.

George stops in front of a classroom doorway.

GEORGE  
(nodding)  
We're here.

BROOKE  
What?

GEORGE  
Your next class?

BROOKE  
(regrouping)  
Oh...right.

For a long moment, nothing happens.

GEORGE  
Well...okay.

He turns and starts to walk away.

BROOKE  
Just—

George turns back and waits expectantly.

BROOKE (CONT'D)  
(wistfully)  
Nothing.

She turns and disappears into the classroom.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. THE L.A. CHRONICLE LOBBY

Sam walks through the sliding glass doors, and pauses for a  
moment to take in the spacious lobby. before steeling herself  
and marching up to the security desk.

SECURITY GUARD  
Can I help you, Ma'am?

SAM  
Uh—yes. I'm Sam McPherson. I'm  
here to see, uh, Art Fleischer...?

SECURITY GUARD  
(looking down)  
Do you have an ap—

FLEISCHER (O.S.)  
Sam!

Sam and the security guard both turn to see Fleischer  
approaching from somewhere deeper within the building. He  
comes around the security desk and claps Sam on the shoulder.

FLEISCHER (CONT'D)  
Good to see you again.  
(to the security guard)  
Jack, this is Sam—she's going to  
be the new wombat.  
(to Sam)  
There's been a slight change in  
plans—we have to send you up to  
Personnel first thing. Turns out  
they're incredibly anal about  
these things. I hope you don't  
have a phobia about filling out  
forms.

The security guard pushes a clipboard across the desk.

SECURITY GUARD  
If you'll just sign in, Ma'am.

Sam scrawls her signature.

FLEISCHER  
Oh—this is Jack. He's usually  
here afternoons. And after you  
start working here, you can forget  
about being called "ma'am".  
You'll be "hey you" before you  
know it.

SAM  
Mr. Fleischer—

FLEISCHER  
Art, please, Art. Every time  
someone your age says "Mr.  
Fleischer", another one of my  
hairs turns gray.

SAM  
Could we just...talk for a minute?

FLEISCHER  
Ah...sure.

After a quick look around, he guides her to a bench along the  
wall of the lobby, where they sit.

FLEISCHER (CONT'D)  
So...?

Sam takes a deep breath.

SAM  
I...I just don't know if I'm going  
to do any good here.

FLEISCHER  
Your writing says otherwise.

SAM  
No, I mean...

She runs her hands through her hair, attempting—none too  
successfully—to gather herself.

SAM (CONT'D)  
I haven't—I haven't hardly been  
to school since... And even when  
I went, I...I tried, but I just...  
can't...

Fleischer reaches over and clasps her hands.

FLEISCHER  
Who did you lose?

SAM  
It's...my uncle...Pete...

FLEISCHER  
Sam, I am so sorry.

Sam peers at him intently, as if trying to make some kind of  
connection.

SAM  
He called me...the night before...  
he was just landing in New York,  
and he called... he'd been in  
Egypt for three years, and...he  
wasn't even supposed to...he was  
just supposed to...just stop at  
his office...

She gives up trying to talk and hangs her head; Fleischer  
reaches up and gently brushes the hair away from her face.

FLEISCHER  
Look, Sam... We don't have  
anyone here who's lost family—  
thank God—but there are some who  
lost friends, acquaintances...  
We know how to deal with this. We  
all help each other get through  
it. And there are people here,  
people you can talk to.

SAM  
You mean, like—?

FLEISCHER  
Counselors, okay? No  
psychobabble, just people who are  
good at listening. Look, all I'm  
saying is—God, I'm the wrong  
person to be trying to do this—I  
know that you probably feel  
completely, totally alone. Right?  
But you aren't, really. Your  
family is there for you, your  
friends are there...all these  
people that would turn somersaults  
for you.

Sam shrugs inperceptively.

FLEISCHER (CONT'D)  
I know...you want to just curl up  
and make the world go away. But  
you can't do that, Sam. You  
just...have to keep putting one  
foot in front of the other.  
Because even if it seems like you  
aren't getting anywhere, you are.  
Man, does that sound trite...but  
it's true.

Fleischer waits for some kind of reaction from Sam. Not  
getting one, he sighs and tries again.

FLEISCHER (CONT'D)  
Sam...you're a really good writer.  
You could be a really, really good  
reporter. It would be a shame if  
you gave up on that.

As Sam appears to waver just a bit, Fleischer puts a game arm  
around her shoulder.

FLEISCHER (CONT'D)  
Whaddya say, huh? Come up to  
Personnel with me, spend a couple  
of hours filling out forms, and  
then... Well, after a couple of  
hours with those forms,  
anything'll look good.

He pulls back and sports Sam a hopeful look. Several moments  
of silence pass between them. Finally, she lets out a short  
sigh and shrugs unenthusiastically.

SAM  
Okay.

FLEISCHER  
(slapping his knee)  
There you go! Come on, we'll get  
you all set up.

He gets up and half-pulls Sam to her feet.

FLEISCHER (CONT'D)  
(earnestly)  
We'll get you through this, Sam.  
I promise.

Fleischer guides her back toward the elevators.

SAM  
Uh...Mr. Flei—

Fleischer clears his throat loudly.

SAM (CONT'D)  
—Art? Could I ask...just one  
other thing?

FLEISCHER  
What?

SAM  
Um..."wombat"?

FLEISCHER  
Oh, that's a very long story. You  
might even find it funny...

DISSOLVE TO:

INT. PRINCIPAL KRUPPS' OFFICE - LATER

The office is empty and darkened, until the door cracks open  
and a head—Mary Cherry's—pops through, looking around  
cautiously. A moment later the door swings open and Mary  
Cherry and Carmen sneak in.

CARMEN  
(hushed)  
Mary Cherry, this is a really bad  
idea.

MARY CHERRY  
Shhh! It's for a good cause,  
remember?

The pair make their way over to Krupps' desk, where Mary  
Cherry starts to rifle through stacks of papers.

CARMEN  
Careful! He'll know someone's  
been in here.

MARY CHERRY  
(dismissively)  
Guys never notice stuff like that.  
Besides, I'm an old pro at this.

CARMEN  
(sighing to herself)  
Why am I not surprised?

Mary Cherry finds the folder she's looking for, and starts  
flipping through it.

MARY CHERRY  
(flipping pages)  
Nobody...nobody...nobody...  
(pulls out a sheet)  
Ewww.

Carmen looks over her shoulder.

CARMEN  
Jessica Landon?

MARY CHERRY  
Too good.

She crumples up the sheet and sticks it in her bag. Then she  
goes through the rest of the file, making vague noises of  
approval or disapproval, and getting rid of more applicants.  
Meanwhile, Carmen is looking on, aghast, but unsure of what to  
do.

CARMEN  
(tugging at Mary Cherry's sleeve)  
Mary Cherry! What's going to  
happen when all those girls find  
out their applications are  
missing?

MARY CHERRY  
By the time they figure that out,  
they'll be out, and we'll be in.  
Now, where's that other...?

She hunts around, and soon comes up with another folder. She  
opens it and thumbs through it quickly.

MARY CHERRY (CONT'D)  
Well, this part is gonna be easy.

She lays the folder flat on the desk, reaches into her bag and  
pulls out a paper with Brooke's photo attached. She lays it  
neatly on top of the stack, closes the folder and puts it back  
where it came from.

MARY CHERRY (CONT'D)  
Now, let's get the heck out of  
here.

CARMEN  
That's the smartest thing I've  
heard you say today.

They head for the door, and after making sure the coast is  
clear, quickly leave. But no sooner do they get into the  
hallway than Brooke comes around the corner—for once walking  
(not too steadily) without her cane. Her appearance triggers  
a frantic shuffle by Carmen and Mary Cherry, as they project a  
thoroughly unconvincing air of innocence. Brooke advances on  
them suspiciously.

BROOKE  
All right, what are you two up to?

CARMEN/MARY CHERRY  
Us?

BROOKE  
Yes, YOU. Are you still trying to  
rig that video competition?

MARY CHERRY  
Now, Brooke, how could we do that?  
Principal Krupps has already  
announced it to the whole school.

BROOKE  
I don't know...but you'd think of  
something. You should hear  
yourself—you sound exactly like  
Nicole.

MARY CHERRY  
(grumbling)  
I wish you'd stop comparing me to  
her.

BROOKE  
I wish you'd stop acting like her.

MARY CHERRY  
But—this is different! Nicole  
used her deviousness and scheming  
for evil! I'm using my powers for  
the side of good and  
righteousness!

Brooke holds up her hands.

BROOKE  
You know what—I don't even want  
to know. Just leave me out of it.

Mary Cherry and Carmen exchange a glance.

MARY CHERRY  
(backing away)  
Uh...sure.

CARMEN  
Yeah, you're way, way out of it.

The two girls are so busy trying to make a clean getaway that  
they don't notice a boy, carrying a stack of books, coming up  
behind them. They both back right into him, bowling him over  
and sending books flying everywhere.

CARMEN (CONT'D)  
Oops!

Carmen stops and starts to help the boy up, but Mary Cherry  
grabs her arm and drags her off down the hallway.

MARY CHERRY  
(over her shoulder)  
Sorry!

Brooke stares open-mouthed at the departing girls.

BROOKE  
Guys? Guys!

Shaking her head in disgust, Brooke makes her way over to the  
where the boy is sitting on the floor, and extends her hand.  
He takes it and starts to pull himself up—but Brooke's leg  
gives way, and she ends up in a heap on top of him.

BROOKE (CONT'D)  
Oh! I'm sorry!

The boy, who aside from the large stack of books is  
sporting a bad haircut, thick-rimmed glasses and a thoroughly  
geeky outfit, disentangles himself.

BOY  
Maybe we oughta help each other  
up.

After they are both back on their feet, he looks around and  
starts to gather up the books. Brooke obligingly holds them  
while he rebuilds the stack. When all the books are  
collected, he takes them from her; she smiles and proceeds to  
lift off the top half of the stack for herself.

BROOKE  
So, were are you headed?

BOY  
Oh—I've, uh, got a locker...

Awkwardly he digs a piece of paper out of his pocket and  
sneaks a glance at it.

BOY (CONT'D)  
...217?

BROOKE  
(tilting her head)  
That's this way. Come on.

CUT TO:

INT. SCHOOL HALLWAY - MOMENTS LATER

As the books are unceremoniously dumped into an open locker.  
The boy closes and locks it, and turns to Brooke.

BOY  
(awkwardly)  
Uh, well, thanks for doing that...  
um—?

BROOKE  
(holding out her hand)  
Brooke.

BOY  
Billy.

They shake hands.

BOY (CONT'D)  
Well, uh, I guess I'll um...I'll  
see you around.

Without further ado, he takes off down the hallway, leaving  
Brooke to look after him, slightly bemused.

CUT TO:

INT. THE L.A. CHRONICLE NEWSROOM

The newsroom is typically hectic as Fleischer makes his way  
through it. As a featured columnist, he rates a private  
office and an assistant, who is busily tapping away at her  
computer when he approaches.

FLEISCHER  
Vicki?

She stops and looks up expectantly.

VICKI  
Where's your new protge?

FLEISCHER  
In the clutches of the anal  
retentives in Personnel. I'll  
have to go rescue her after a  
while.  
(pause)  
Listen, I need something.

Vicki picks up a pad and pen.

VICKI  
Shoot.

FLEISCHER  
I need you to dig up whatever you  
can on someone who was at the  
World Trade Center.

VICKI  
(scribbling)  
Who?

FLEISCHER  
Peter McPherson.

VICKI  
Peter Mc—  
(looking up)  
McPherson? As in...?

FLEISCHER  
(nodding)  
Her uncle.

VICKI  
(lips pursing)  
How's she handling it?

FLEISCHER  
Not good. I really want to help  
her. I'm hoping...I don't know,  
just, see if you can find out  
something useful.

VICKI  
(writing)  
Okay. You got it.

Fleischer disappears into this office, and Vicki turns back to  
her computer.

CUT TO:

INT. CHEMISTRY CLASS - LATER

Miss Glass has Billy at her side.

GLASS  
Ten-HUT!

The kids stop their chatter and sit at attention, more or  
less.

GLASS (CONT'D)  
(gesturing)  
This is Billy Cole, and he's in  
this class until further notice.

CARMEN  
(raising her hand)  
And you want us to make him feel  
welcome?

GLASS  
(dryly)  
Yes, Miss Ferrera, I want the  
whole class to take the rest of  
the week off to plan a raucous  
party for our new student.

CARMEN  
Okay, you're being sarcastic now,  
right?

GLASS  
You know, I'd like to say that I'm  
touched at how well we've gotten  
to know each other—but it really  
just makes me want to vomit.  
(pause)  
NOW, as I was saying, Mr. Cole  
needs a seat.

Brooke raises her hand.

BROOKE  
Miss Glass? He can sit here.

GLASS  
(looking over)  
Miss McPherson still on her  
sabbatical?  
(to Billy, pointing)  
Go.

Billy obediently sits next to Brooke.

BILLY  
(whispering)  
Is she always like that?

BROOKE  
Uh, yeah.  
(pause)  
So, are you any good at chemistry?

BILLY  
Oh, I did pretty good in—um, at  
my last school.

BROOKE  
Good, 'cause I got lost about the  
second day.

BILLY  
Well...I can try to help.

DISSOLVE TO:

MONTAGE

A short montage of Miss Glass lecturing on some topic actually  
related to chemistry, complete with diagrams on the  
blackboard; Brooke looking fairly confused; and Billy pointing  
things out in her book and generally being helpful—while  
Harrison shoots a couple of glances at them from across the  
room.

CUT TO:

INT. SCHOOL HALLWAY - LATER

As chemistry class is letting out, Brooke and Billy emerge  
through the doorway.

BROOKE  
Thanks a lot. I told you I was  
lost.

BILLY  
Ah...I didn't do that much. I  
mean, you got most of it okay.

BROOKE  
Believe me, you are a lot better  
at helping than Sam is.

BILLY  
Sam?

BROOKE  
Oh—she's my sister—um, step  
sister...anyway, she normally sits  
next to me. But she's not a whole  
lot better at chemistry than I am.

BILLY  
Oh...well, it's okay, I can find  
somewhere else to sit tomorrow.

BROOKE  
You're welcome to stay until she  
comes back.  
(pause)  
You know...I might need help with  
this assignment. I still don't  
think I know what exactly she was  
talking about.

BILLY  
Ah—if you want, I can, um, yeah,  
I can help.

BROOKE  
Great!

She waits expectantly for a couple of seconds.

BROOKE (CONT'D)  
I, uh...need your number?

BILLY  
Oh! Right...of course, that's...  
right.

He fumbles for a piece of paper, and after Brooke helpfully  
hands him her pen, he scribbles down his number and hands it  
to her.

BROOKE  
I promise, I'll only call if it's  
a chemistry emergency.

BILLY  
Oh, no, that's...I mean, you  
can...um...okay.

After petering out, he abruptly turns on his heel and walks  
away, again leaving Brooke chuckling to herself.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EST. MCQUEEN HOUSE - DUSK

A short establishing shot.

CUT TO:

INT. MCQUEEN KITCHEN

Jane is moping at the kitchen table when the patio door opens  
and Sam walks in. Jane leaps up and rushes over to her.

JANE  
Sam! Where have you been? I've  
been worried sick!

SAM  
Oh, I'm sorry... Mr. Fleischer—  
Art—called. He wanted to set  
everything up for me to start  
working. So...I went down there.

JANE  
Well, honey, I wish you'd left a  
note.

SAM  
I'm sorry, I didn't...think I was  
going to be this long. I was...I  
was going to tell him that I  
couldn't do it.

JANE  
Oh, Sam...you didn't.

SAM  
(sighs)  
No...I didn't. We...talked. I  
don't know—I said I'd give it a  
try. I guess I won't be able to  
baby-sit Mac anymore—I'll be busy  
after school.

JANE  
After school?

SAM  
(grimacing)  
He said he couldn't hire me if I  
dropped out.

Jane hugs Sam.

JANE  
I am very, very proud of you.

The door opens, and Mike and Brooke come in.

MIKE  
Jane—

JANE  
(turning and interrupting)  
Mike, Sam went down to the paper  
today, to start her new job.

Mike, who was already grinning, hurriedly makes his way over  
to Sam.

MIKE  
Really! That's great, Sam. Tell  
us all about it—are we going to  
be reading your articles in the  
Chronicle now?

SAM  
(blushing)  
Not for a long time. I guess  
interns mostly do research and  
stuff.

He claps an encouraging hand on her shoulder.

MIKE  
Still, I bet you're pretty  
excited, huh? I mean, here you  
are, not even out of high school  
yet, and your career's already  
taking off.

JANE  
Honey, we're all so thrilled for  
you.

Sam looks past both of them.

SAM  
Brooke?

Brooke, who has been watching this exchange without much  
expression at all, blinks and visibly refocuses on Sam.

BROOKE  
It's...

JANE  
(uncertainly)  
Brooke?

BROOKE  
...just...great  
(swallowing hard)  
It is. Great.

Without another word, she turns and walks—at a reasonable  
pace—out of the room.

MIKE  
Brooke!

Mike starts to go after her, but Sam grabs at his arm, and  
pulls him back.

SAM  
Wait—let me. Please.

CUT TO:

INT. MCQUEEN DOWNSTAIRS HALLWAY - MOMENTS LATER

Sam enters the hallway and seems a bit surprised to find it  
empty. She walks up to the door to the den and raises her  
hand to knock; but at the last moment pulls it back. Instead,  
she opens the door and walks through.

CUT TO:

INT. MCQUEEN DEN - CONTINUOUS

Brooke, who is sitting at her desk, looks up as Sam comes in.

BROOKE  
God! Do I have to put a lock on  
that door?

Sam just shakes her head, throws up her hands and turns to  
leave—but instead she closes the door and whirls back around.

SAM  
Brooke—

Brooke slams her hand down on the desk in frustration.

BROOKE  
What? What do you want from me?

Sam lets out an incredulous snort.

SAM  
What—what do I—? What do YOU  
want from ME? I thought we  
were—

BROOKE  
You thought we were what?

SAM  
I thought we were SISTERS!

BROOKE  
We WERE!

Suddenly spent, Brooke buries her face in her hands.

BROOKE (CONT'D)  
We are...I...

With no small amount of trepidation, Sam approaches Brooke,  
and squats down to meet her eye-to-eye.

SAM  
Do you want me to beg, Brooke? Is  
that it?

BROOKE  
(suddenly confused)  
What—? Sam—

SAM  
Please, please, PLEASE don't do  
this. Not now.

Brooke just shakes her head mutely. Sam squeezes her eyes  
shut, carefully picking her way through her words.

SAM (CONT'D)  
Please don't turn your back and  
walk away from me. I can't—  
handle—losing someone else that I  
care about.

BROOKE  
(curiously)  
I'm someone you care about?

SAM  
Oh, God, Brooke, how can you ask  
that? After all we've been  
through.

BROOKE  
I don't—what do you need me for?  
You've got a career, you've got a  
boyfriend—

Sam pulls back suddenly.

SAM  
Is this about HARRISON?

BROOKE  
Sam—

SAM  
It is, isn't it?

BROOKE  
I...don't want to talk about it.

But Sam is busy reaching her own conclusions.

SAM  
Are you—are you JEALOUS of me and  
Harrison?

Brooke refuses to answer or even look at Sam.

SAM (CONT'D)  
Oh...I cannot believe—I am SUCH a  
yutz!

BROOKE  
Huh?

SAM  
Here I am, I have—Harrison, who  
is like the ideal boyfriend...and,  
and this thing with the paper,  
which is pretty much a dream job  
for me...

BROOKE  
(annoyed)  
Is there a point in all this  
somewhere?

SAM  
See? There I go again. I just...  
flaunt these things. I'm  
completely insensitive to anyone  
else's feelings.

Sam kneels down next to Brooke's chair.

SAM (CONT'D)  
I know how you feel...stuck...  
like you're going to be stuck in  
high-school mode forever.

BROOKE  
You do?

SAM  
(chuckling ruefully)  
We may not talk anymore, but I do  
hear things. Even if I haven't  
been paying enough attention to  
them.  
(pause)  
And...I know...I realize...how  
hard—even though you were all  
supportive—how hard it was to let  
go of Harrison.

BROOKE  
Sam...

SAM  
No, I...took your feelings for  
Harrison too lightly. I'm sorry,  
Brooke. I'm very, very sorry.  
After all you went through because  
of Nicole...I never meant to hurt  
you more.

Brooke turns away, shaking her head.

SAM (CONT'D)  
What?

BROOKE  
(murmuring)  
YOU never meant to hurt ME...

SAM  
Is that funny?

The ironic smile disappears from Brooke's face.

BROOKE  
No. Sam, I don't want you to feel  
guilty about having a job, or...  
Harrison. And I don't want you to  
think you have to tiptoe around  
me. I'll deal. It's not your  
problem.  
(pause)  
I'm sure Dad and Jane want to do  
something to celebrate your new  
job.

Sam straightens up and goes to the door.

SAM  
(turning back)  
Aren't you coming with?

BROOKE  
Naw...I've got homework.

SAM  
Homework...  
(rubbing her eyes)  
I am SO screwed...I'm never gonna  
catch up.

BROOKE  
You only missed, like, a week and  
a half. It's not a big deal.

Sam opens the door.

BROOKE (CONT'D)  
(suddenly)  
George asks about you.

SAM  
(turning back)  
He does?

BROOKE  
Yeah, he hasn't felt right about,  
you know, coming over, but...yeah.

SAM  
Huh...

With a half-smile playing at her lips, Sam walks out of the  
room. Brooke holds her gaze on the closed door for a couple  
of moments; then she reaches across the desk for her cell  
phone. Shuffling through the pile on the desk, she pulls out  
the paper Billy gave her, and dials.

BROOKE  
(into the phone)  
Hey. It's Brooke—from school?  
Can we meet somewhere? Not  
here...

VERTICAL SLIDE CUT TO:

INT. THE DINER - LATER

Brooke and Billy are having a combination dinner and study  
session.

BROOKE  
(scribbling on paper)  
Here...like this?

Billy reaches out and turns the paper around so he can read  
it.

BILLY  
(shaking his head)  
You've got it backwards.

He adds a few marks of his own.

BILLY (CONT'D)  
See?

Brooke picks up the paper and studies it closely.

BROOKE  
Don't the signs switch after  
osmosis?

BILLY  
(considering)  
I think that's algebra.

Brooke shakes her head, reaching across the table to steal a  
couple of Billy's french fries.

BROOKE  
I wish they would just teach one  
science at a time.

BILLY  
Well, math isn't a science,  
strictly speaking—

Brooke glares at him.

BILLY (CONT'D)  
Uh, I get your point.

BROOKE  
You know, you sound different,  
somehow.

BILLY  
Different?

BROOKE  
I don't know...sometimes you  
sound...well, just, different.  
Less...geeky. No offense.

He self-consciously adjusts his glasses.

BILLY  
Oh...I, uh, didn't mean to.

BROOKE  
No, it's okay.  
(grinning)  
I like it.

BILLY  
Oh, well, then, um...

BROOKE  
(laughing)  
Nevermind.

Billy watches her sneak another french fry.

BILLY  
Um, should I get more?

BROOKE  
(shaking her head)  
Oh, no...

She holds the french fry up to her face and considers it  
before popping it into her mouth.

BROOKE (CONT'D)  
You know, last year you wouldn't  
have caught me dead doing this.

BILLY  
What...eating?

BROOKE  
(laughs)  
Yeah. I mean, I'd go places to  
hang out, be seen...but I would've  
been counting the calories in the  
water. I was really messed up  
back then.

BILLY  
You don't seem like the kind of  
girl to mess up.

BROOKE  
Little Miss Perfect... That was  
the problem.

Meanwhile, at the other end of the diner, the door opens and  
Mike, Jane, Sam and Harrison walk in.

JANE  
Are you sure you don't want to go  
someplace fancier?

SAM  
This is fine, Mom. It's about as  
fancy as I'm ready for.

While they look for a booth, Harrison spots Brooke and Billy.

HARRISON  
(to Sam)  
Hang on a sec.

Leaving the others, he goes purposefully striding over to the  
booth where Brooke and Billy are laughing over something or  
other.

BROOKE  
(looking up)  
Harrison...what are you doing  
here?

HARRISON  
That's funny—I was about to ask  
you the same thing.

BROOKE  
I'm having dinner, and doing my  
chemistry homework.

HARRISON  
(miffed)  
Really...I thought maybe you were  
branching out into charity work.

BILLY  
Ah, maybe I should—

Billy starts to get up, but Brooke puts out a hand to stop  
him.

BROOKE  
(quickly chilling)  
No, it's all right.  
(pointedly)  
Harrison's not staying.

HARRISON  
So are you going to tell me what's  
going on?

BROOKE  
As if I have to explain myself to  
you. And what, you're one of the  
cool kids now, you can turn up  
your nose at everyone else?

HARRISON  
(pointing)  
Hey, I was never THAT. EMORY  
isn't that.

Brooke gives him a look that would freeze molten lava.

BROOKE  
(grating)  
Harrison, go away.

HARRISON  
Brooke—

BROOKE  
NOW.

HARRISON  
(snorts)  
Fine.

Harrison walks off in a huff.

BILLY  
Uh, I'm sorry, I didn't...that's  
your...boyfriend?

BROOKE  
(looking after Harrison)  
Harrison? No. No way.  
(with finality)  
No.

Meanwhile, Harrison rejoins the others at the booth they've  
found.

SAM  
What was that all about?

MIKE  
And who's that sitting with  
Brooke?

SAM  
(craning her neck)  
Don't know.

HARRISON  
Oh, it's some new kid. He sat  
next to Brooke in class today.

SAM  
Is there a problem?

HARRISON  
Oh, he's just...glomming all over  
her.

SAM  
(pecking him on the cheek)  
It's sweet of you to worry.

Harrison looked more pissed than worried, but he holds his  
peace around Sam.

CUT TO:

INT. ART FLEISCHER'S OFFICE - LATER

Fleischer is relaxing behind his luxurious oak desk, absorbed  
in a sheaf of papers, when Vicki knocks on the open door, and  
steps inside. She sets a bunch of slips on the desk.

VICKI  
Your messages.

FLEISCHER  
(tapping his computer)  
You could just upload those, you  
know.

VICKI  
Uh-huh. If the Governor calls and  
that thing eats the message, it's  
not the one getting fired.

FLEISCHER  
(shrugs)  
True.

VICKI  
(holding out a paper)  
Here's that information you  
wanted.

Fleischer immediately sits up and takes the paper from her.

FLEISCHER  
Thanks, Vicki. This is it?

VICKI  
Everything I could find.

FLEISCHER  
Okay. Thanks.  
(looks at his watch)  
It's late. You might as well take  
off.

VICKI  
See you tomorrow, then.

After Vicki leaves, Fleischer scans the printed paper quickly.  
He reaches into his desk and pulls out an old, weathered  
datebook. Flipping through it, he finds the page he wants,  
picks up the phone and dials.

FLEISCHER  
(into the phone)  
Is Detective Seizemore there?  
Tell him it's Art Fleischer from  
the L.A. Chronicle.

For a few moments, while he is on hold, he reads the paper in  
his hand more closely. Then his attention turns back to the  
phone.

FLEISCHER (CONT'D)  
(into the phone)  
Hey, Larry, it's Art... Yeah...  
It's not exactly a picnic out  
here, either... Look, I need a  
favor...

DISSOLVE TO:

EST. KENNEDY HIGH

Another sunny establishing shot.

CUT TO:

INT. SCHOOL HALLWAY

Carmen and Mary Cherry are once again walking down the  
hallway.

MARY CHERRY  
I don't get it! It's been two  
days already! When are they gonna  
get around to those auditions?

CARMEN  
(shrugs)  
Maybe they decided to call it off.

MARY CHERRY  
(aghast)  
No! They can't do that! I'll—  
I'll—I'll SUE!

As they pass by the girls' restroom, the door opens, and two  
hands reach out to drag Carmen sideways through the doorway.  
Mary Cherry, of course, keeps on walking down the hallway,  
oblivious.

CUT TO:

INT. GIRLS' RESTROOM - CONTINUOUS

Inside, Carmen spins around to find Lily standing there.

CARMEN  
Lily! What the hell are you  
doing?

LILY  
I've been trying to talk to you  
all day!

CARMEN  
Well, I'm sorry, I've had more  
important things on my mind.

LILY  
Okay, Carm, first of all, I don't  
care what Mary Cherry's  
brainwashed you into thinking,  
this Glamazons thing is not even  
remotely important! And  
second...what's going on with you  
and Sugar Daddy?

CARMEN  
(flustered)  
Going on? N-nothing. Why? Did  
you hear something?

LILY  
I thought you two had a good time  
when you were together.

CARMEN  
Well...we did. It just...wasn't  
gonna work out. We're just too  
different. I mean, he's a jock,  
and I'm...I'm just me.

LILY  
Carmen, don't you dare put  
yourself down like that! And, who  
cares how different you are? Look  
at me and Josh!

Lily sits Carmen down on the tuffet.

LILY (CONT'D)  
Believe me, he really wants to go  
out with you.

CARMEN  
(doubtful)  
You think?

LILY  
Carm, why do you think I'm talking  
to you?

CARMEN  
You mean, he...? But...he hasn't  
said anything to me. I mean, I  
haven't even seen him in ages.

LILY  
Well, you told him you needed  
"space".

CARMEN  
(confused)  
Wait...so, guys actually do what  
you tell them?

LILY  
(shrugs)  
Sometimes.

Suddenly the door opens, and Mary Cherry bursts in.

MARY CHERRY  
(to Carmen)  
HERE'S where you disappeared to!  
Didn't you hear? Come on!

CARMEN  
Hear what?

MARY CHERRY  
There's gonna be a special  
assembly! This is it! They're  
gonna announce the auditions!

Mary Cherry is so excited that she's actually bouncing.

MARY CHERRY (CONT'D)  
Come ON! We're about to be  
famous!

She proceeds to hustle Carmen out of the room.

LILY  
(calling)  
Carm! Sugar?

CARMEN  
(as the door closes)  
I know!

Lily just looks heavenward and sits back down on the tuffet.

CUT TO:

INT. GYM - LATER

The entire student body is gathering in the bleachers.

ANGLE: MARY CHERRY AND CARMEN

Mary Cherry is barely able to contain herself.

MARY CHERRY  
This is it, I just know it! All  
my hard work is gonna pay off!

CARMEN  
(dubious)  
I dunno...why would they do all  
this just to announce that they're  
holding auditions?

MARY CHERRY  
Search me! But I can feel fame  
and fortune heading my way!

ANGLE: BILLY

Billy, wearing a very loud jacket, is sitting by himself near  
the floor and off to one side. He looks up as Brooke sits  
down next to him.

BROOKE  
Okay, look, I just want to  
apologize again for Harrison. I  
don't know what got into him...  
I've never seen him be that rude  
before. And I completely  
understand if you just don't want  
to bother with me anymore.

BILLY  
(chuckling)  
Brooke, it's okay, really.  
Besides—  
(gesturing around)  
—it's not exactly like I've got  
an entourage.

Brooke looks around herself, at the buffer of empty space the  
other kids have put around him.

BROOKE  
I'm sorry, this school really  
isn't...  
(reconsidering)  
What am I saying? This school is  
EXACTLY like that. I'm really  
sorry.

BILLY  
Stop apologizing, already. You're  
not responsible for the whole  
school.

BROOKE  
There you go again—sounding not  
geeky.

BILLY  
Well, you DID say you liked it.

BROOKE  
(grinning)  
Yeah, I did.

Principal Krupps walks up to a microphone set up in the middle  
of the gym floor and taps on it, sending a squeal of feedback  
through the building.

KRUPPS  
Attention, students... As you  
know, a few days ago I announced  
that the Bubblegum Boys would be  
shooting their new video here at  
Kennedy High. First, about the  
part of the lead singer's  
girlfriend: I understand that  
those auditions will NOT be held—  
although I hasten to add that this  
has nothing to do with the  
complaint that was made to the  
State Department of Education  
about an allegedly discriminatory  
process.

In the bleaches, Josh glances over at Lily, who shrugs gamely.

KRUPPS (CONT'D)  
However, the part WILL be chosen  
in an alternate manner. And to  
explain a little further just how  
that's going to happen, I'd like  
to introduce the manager for the  
Bubblegum Boys, Mr. Franklin  
Reese.

A thirty-ish man in a very expensive suit, who has  
nevertheless been leaning casually against the wall, rights  
himself and steps over to the microphone.

REESE  
Thank you, Principal Krupps. Now,  
when we first began this project,  
we had a straightforward audition  
process in mind. But, some of the  
band members—specifically, B.J.  
and Terrence—thought that we  
should go in another direction.  
What we decided to do—with  
Principal Krupps' permission—was  
to spend a couple of days  
observing all of you in your  
element...just being yourselves.  
Now, we CAN still hold the  
auditions if we have to...but from  
what I hear, that won't be  
necessary.  
(looking up)  
Will it?

A wave of surprise ripples through the gym when Billy stands  
up.

BILLY  
No, it won't.

As everyone sits in stunned silence—not least of all Brooke—  
"Billy" clambers down off the bleachers. As he steps onto the  
gym floor, he pulls at his head, and the bad hair—a wig—  
falls to the floor, followed by the thick-rimmed glasses and  
the geeky jacket; leaving him completely transformed.

MARY CHERRY  
(hushed)  
B.J. Tucker!

BILLY  
Billy Jack.

He shrugs apologetically at Brooke.

BILLY (CONT'D)  
My parents were bad movie freaks.

Billy—B.J.—starts to pace leisurely in front of the  
collected student body.

BILLY (CONT'D)  
See, the guys...we wanted to find  
a real, natural California girl...  
someone warm, and caring—the  
genuine article. But there isn't  
anything more UNnatural than a  
bunch of girls lining up outside  
an office, going in one by one and  
showing themselves off to a  
producer.  
(shakes his head)  
I've been through it—it ain't  
fun. So, Mr. Krupps here was kind  
enough to let me slip into school  
anonymously...just to see what you  
all were really like.

MARY CHERRY  
(smacking her forehead)  
All this time...

REESE  
So—I take it you found the girl  
you were looking for?

A slow grin spreads across Billy's face.

BILLY  
Yeah, I did...

He turns and looks up at Brooke.

BILLY (CONT'D)  
...if she'll do it.

For a moment Brooke seems genuinely surprised; then she furls  
her brow, thinking.

BROOKE  
On one condition.

Eyes alight, she crooks her finger, beckoning him. He  
scrambles up to her and bends down; she whispers in his ear  
for a moment. Finally he straightens up, shrugging.

BILLY  
I don't see why we can't do that.

SWEEP CUT TO:

INT. GYM - LATER

The gym looks much the same as before, with the exception of  
five young men in bubblegum-pink shirts lined up on the floor.

DIRECTOR (O.S.)  
Music!

A technopop arrangement of "California Dreamin'" begins to  
blare through a loudspeaker.

DIRECTOR (O.S.) (CONT'D)  
And...ACTION!

On cue, the five Bubblegum Boys begin to perform a complex set  
of dance steps, while lip-synching to the song. And flanking  
them, waving their pompoms and dancing, are Mary Cherry and  
Carmen, having the time of their lives.

FADE TO:

EST. MCQUEEN HOUSE - NIGHT

CUT TO:

EXT. THE FRONT DOOR

The doorbell rings, and after a moment the door swings open.  
Jane, standing in the doorway, looks out questioningly.  
Fleischer is on the front stoop holding a box, which he sets  
down in order to offer his hand.

FLEISCHER  
You must be Sam's mother. I'm Art  
Fleischer...from the Chronicle?

JANE  
Oh!  
(shakes his hand profusely)  
Please, come in. We've heard so  
much about you.

CUT TO:

INT. MCQUEEN LIVING ROOM - CONTINUOUS

As Fleischer picks up the box and follows Jane into the living  
room, she looks up the stairs.

JANE  
(calling)  
SAM! Mr. Fleischer's here!

Mike emerges from the kitchen, and Jane waves him over.

JANE (CONT'D)  
Honey, this is Art Fleischer,  
Sam's boss.  
(to Fleischer)  
This is Mike McQueen.

Fleischer sets down his box on the coffee table, shaking  
Mike's hand.

FLEISCHER  
Please, call me Art. I can barely  
keep Sam from saying "Mr.  
Fleischer" as it is.

Sam comes flying down the stairs.

SAM  
Mr. Fleischer—

FLEISCHER  
(to Jane and Mike)  
See?

He lowers a playful glower at Sam.

FLEISCHER (CONT'D)  
Sam...?

She pulls up short, holding up her hands.

SAM  
Sorry—Art.  
(regrouping)  
Uh...was there something else you  
needed me to do?

FLEISCHER  
No, no—this isn't...it isn't  
business. Can we...?

He gestures to the sofa set, and they sit obligingly.  
Fleischer takes a seat across from them, folding his hands in  
front of him.

FLEISCHER (CONT'D)  
Well, I...guess I should just dive  
right in.

He turns to Jane.

FLEISCHER (CONT'D)  
When Sam first came to the paper  
last week, she told me about...  
well, about her uncle, and nine-  
eleven. I wanted to do something  
to help—and since I'm a natural  
busybody—I did a little digging.  
I have some friends on the NYPD,  
you see.

JANE  
Did they...find anything?

FLEISCHER  
(sighs)  
They confirmed—as far as they  
could—that he was on the ninety-  
fifth floor of Tower Number One.  
They did locate his hotel room.  
His personal effects are going to  
his sister in...Wisconsin, is it?

Jane nods silently. Fleischer taps the box he brought.

FLEISCHER (CONT'D)  
They also found this in his room.

He turns to Sam.

FLEISCHER (CONT'D)  
It looks like it's for you.

As though it might rear up and bite her, Sam hesitantly  
reaches out and pulls the box to her. She lifts the flaps,  
and carefully pulls out a brand-new laptop computer.

JANE  
Oh, honey...  
(to Fleischer)  
Thank you for...for doing this.

Sam sets the laptop down on the coffee table and opens it up,  
then starts as it suddenly comes to life on its own. On the  
screen, a window forms—a window containing Pete McPherson's  
face.

PETE  
(on the computer screen)  
Hi, Sammy. Okay, I just picked up  
this baby in London, but if you're  
watching this, it means that,  
despite all my threats and  
intimidation, something came up at  
the office and I wasn't able to  
make it out to the Left Coast like  
I planned. If that's the case,  
then I've sent this on ahead, and  
I promise that I'll call as soon  
as I can, and definitely before I  
go anywhere where I'm completely  
out of touch again. And I hope  
this little present starts to make  
up for the birthdays, and the  
Christmases, and the other times I  
missed over the past few years.  
You've always been my favorite  
niece—hell, my favorite family  
member, period—and nothing's ever  
going to change that.  
(pause)  
I love you, Sammy. I'll see you  
when I can.

The screen goes blank. Sam reaches out and brushes the screen  
with her fingertips, crying;  
and as her sobs become stronger, Jane—crying herself—gathers  
her in her arms and rocks her back and forth gently.

FADE TO BLACK.

END OF ACT FOUR

**THE END**


End file.
